Tao Yuanming and Manuscript Culture

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田曉菲,1971年生人,6歲習古詩,古今中外,閱讀頗豐。1985年經過北京大學英語係、心理學係、中文係老師麵試,特招進入北大英語係。而當時年僅14歲的她,以與生俱來的纔情和聰穎,已齣版兩本詩集,名動天下,真正是少年成名。時隔多年,再次齣現在人們視野中的田曉菲已是執教於哈佛大學東亞係的年輕學者田曉菲瞭,不時有佳作問世,顯示瞭她深厚的知識積澱。讓人驚訝於她的纔情之餘,更驚嘆於她學者的嚴謹與智慧,以及她勤奮踏實地走過的每一步。從北大畢業後,田曉菲遠赴大洋彼岸求學,於1998年獲哈佛大學比較文學博士學位,曾在美國柯蓋特大學,康奈爾大學教書,現在哈佛大學任教。

出版者:University of Washington Press
作者:Xiaofei Tian
出品人:
頁數:328
译者:
出版時間:2005-10-30
價格:USD 60.00
裝幀:Hardcover
isbn號碼:9780295985534
叢書系列:
圖書標籤:
  • 田曉菲 
  • 海外漢學 
  • 詩歌 
  • 陶淵明 
  • 漢學 
  • 文學 
  • 六朝 
  • 魏晉南北朝 
  •  
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As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced, thereby affecting readers' impressions of the author's intent. In "Tao Yuanming and Manuscript Culture", Xiaofei Tian shows how readers not only experience authors but produce them by shaping texts to their interpretation. Tian examines the mechanics and history of textual transmission in China by focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature. Considered emblematic of the national character, Tao Yuanming (also known as Tao Qian, 365-427 c.e.) is admired for having turned his back on active government service and city life to live a simple rural life of voluntary poverty. The artlessness of his poetic style is held as the highest literary and moral ideal, and literary critics have taken great pains to demonstrate perfect consistency between Tao Yuanming's life and poetry.Earlier work on Tao Yuanming has tended to accept this image, interpreting the poems to confirm the image. "Tao Yuanming and Manuscript Culture" is a study of how this cultural icon was produced and of the elusive traces of another, historical Tao Yuanming behind the icon. By comparing four early biographies of the poet, Tian shows how these are in large measure constructed out of Tao Yuanming's self-image as projected in his poetry and prose. Drawing on work in European medieval literature, she demonstrates the fluidity of the Chinese medieval textual world and how its materials were historically reconfigured for later purposes. Tian finds in Tao's poetic corpus not one essentialized Tao Yuanming, but multiple texts continuously produced long after the author's physical demise.Her provocative look at the influence of manuscript culture on literary perceptions transcends its immediate subject and has special resonance today, when the transition from print to electronic media is shaking the literary world in a way not unlike the transition from handwritten to print media in medieval China.

具體描述

讀後感

評分

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课程作业: 经过钱钟书在《谈艺录》中的论证,“渊明在六代三唐,正以知希为贵”“渊明文名,至宋而极”,这一精到论点已经成为学者共识。在南朝时期,隐士已经相当普遍,陶渊明也仅仅是作为普通的隐逸文人受到关注。萧统编《文选》,只收入他的几首诗和《归去来兮辞》;钟嵘...  

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田晓菲眼光毒辣,通过版本的研究,指出了陶渊明形象的构建是一个经典化的过程。不过她太过于执着版本细节的分析而忽视了一个大的事实:事实是:在六朝文学开始声律化、辞藻化、对偶化的演进下,陶渊明却一反常态而行之。而陶渊明的以文为诗、不重辞藻的整体风貌,却不是后代已...  

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田写书,是用一双透亮的眼眸看往文本深处,用强大的逻辑和众多典故委婉曲折而又连贯通畅地让人顺从她的结论,用来当做结构性习作的典范最佳不过。 田也擅用理论,虽不露声色,却融理论于点滴,这是优,也是缺。理论产生于现象、感性的总结,可惜在产生的刹那便失去...  

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看完了《尘几录》,感觉有几点挺有启发的。 ①在作者与作品的关系上,读者不仅亲自对作品进行塑造,并用自己参与创造的文本“证明”他们的诠释。 ②应该把陶渊明放在他的历史社会文化和文学语境中进行探讨。陶渊明诗是根植于文学和文化传统的,要熟悉老庄,《诗经》《论语》《...  

用戶評價

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分主題闡釋瞭陶潛詩歌及其manuscript culture,兼含大量陶詩的分析解讀。把陶詩從曆史動態演變的視角來剖析,她這本是算是一次有意義的嘗試。本書國內學者爭議較大。

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就是要不一樣的陶淵明。覺得很好。

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本國人做的漢學研究,總是容易有一些bold assumptions,比如the religious mode is missing in China,似乎誰上來都會提這麼一句“文化共識”。撇開這些不講,作為學術著作,這本書還是相當,嗯,纔華橫溢的。

评分

就是要不一樣的陶淵明。覺得很好。

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讀瞭很憋氣的一本書:精彩的部分(藏舟)能讓人擊節,無語的部分(“望”/“見”之爭)寫得非常不好。不好的原因在於:1)田隱隱約約投射瞭自己的大前提(PRC喜歡創造中國性,所以宋人也喜歡塑造宋的唐及唐前性);2)文獻學的部分有自相矛盾之疑,一方麵過於依賴明及以後的文獻學大傢的推論(過於揚明抑宋,也算是獨一傢瞭),沒有把她最為依賴的宋及宋前手稿部分高亮討論;3)詩學內的討論又過於anachronistic,過於強調共情。然而考慮到詩話在宋以前本身就不是大宗,怎麼均衡對於某一個唐前文本的極度不均衡的後世評論量是一個方法論上很重要的內容,不好好說一下似乎也不妥。#總的來說就是一本總覺得有哪裏不對但又不大說的上來哪裏不對的奇書

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